Can you use Mocha to help stitch shots together or create split screens, and if so what would the workflow be?
Examples might be split screening two different takes into one shot where the shots are almost the same but move slightly differently, or an instance where one shot pans to another (not whip pan) and you want to stitch them together.
I wonder if perhaps you would stabilize one of the shots and track it onto the other shot so they move together. (Then Rotoing in After Effects?)
Which leads to the question - how do you ease in and out of stabilizations? For instance you might only want to stabilize a certain section of the shot.
Thanks for the video on adjustments today, it was helpful!
Yes, in order to combine takes you must stabilize one shot, and then you patch it into the other shot, usually with lots of careful roto. I have one video (it’s old, sorry) about take combination, and it was shot in my kitchen… because all of the professional ones I have done or consulted on are not allowed to be shared (booooo).
If you want to stabilize one section, pick the plane best suited for that location.
You can watch that video here for the technique. I apologize in advance for the picture and sound. I had less budget for videos at the time…
Thank you, that’s helpful.
I’d like to understand the workflow if the comp was slightly more complex–if it was moving.
Say Shot A pans over and you stitch in shot B where they are both in frame, then Shot B pans off taking over the frame entirely. You’d want shot B to get back to it’s original state (with A moving out of frame and out of the picture).
How would you smoothly ease shot B from being stabilized and tracked to shot A to being unstabilized and full frame?
For two takes of the same shot with different camera motion… Oh my, for those shots you shoot them with a mechanized rig that moves in the exact same path every single take. You aren’t going to get two different parallaxes to line up ever. That’s a set rebuild in some way entirely, like a 3D set extension, and a lot of roto and it still probably won’t look “right.”
For things like Birdman, and other “one take” movies where the tail of one shot is stitched to the head of another, those are all finding common points to focus on and then massaging the track from there to hide the “seam.” Example, outside a stage door, and inside a stage door. The stage door is the common head and tail to combine.
You MIGHT get away with two different sets in one frame with a matte painting “set extension” depending on the parallax. I’d have to see the shot, this is hypothetical at this point.
I’m only using it for offline so it doesn’t need to be perfect, just acceptable.
What I’m trying to understand is how to ease a shot from stabilized and tracked onto another shot to unstabilized and back to normal, back to it’s own framing and motion.
Exploring the stabilize feature it seems like it may involve setting an anchor point (if that’s the correct name) later on at a frame where Shot B is back to its normal self and letting keyframes figure out how to get there from the earlier point.
If you’re doing this in an NLE, you’re probably going to want to use the insert module and a lot of hand correction using either manual or adjust track.
If you’re in AE, I’d just pick a frame to blend on and hand blend in with maybe a few scale keyframes to settle into frame and then another hand-cut, hand-animated return to the original camera motion. I wouldn’t try to stabilize if the point is to combine a take to two reference frames of another take. I’d try to animate a little transition in, maybe hidden with motion blur.
This is assuming I understand what you are doing, which I may be off-base.